MESMERIZED (Alternative Version Feat. Farz)

Originally featured on 2020 Album "Princess of the Darkness", rearranged, remastered, remixed in 2021.

All Rights Reserved. Asarmoth 2021.
Credits:
GIGI CASINI: Bass, Vocals, Guitars, Drums Programming
FARZ: Synth & Keyboards

(Lyrics & Music by GIGI CASINI) 
WELCOME TO THE DARK REIGN
OF THE ANCIENT ONES
FALL INTO THE ABYSS
OF THE GOLDEN SUN
YOG-SOTHOTH – CHAOS AND BLIND
AZAGTOTH – EVIL DIVINE

MESMERIZED – HYPNOTIZED
MESMERIZED – HYPNOTIZED

STORM THE GATES OF GANZIR
SUMMONING SUPREME
QUEST INTO THE UNKNOWN
ABOMINATIONS DREAM
YOG-SOTHOTH – CHAOS AND BLIND
AZAGTOTH – EVIL DIVINE

MESMERIZED – HYPNOTIZED
MESMERIZED – HYPNOTIZED

MESMERIZED (Alternative Version Feat. Farz)

https://www.primogif.com/p/sOabSE3qiQqiY

https://gifer.com/en/Do04


Original song is from the horror movie 'The Skeleton Key', called 'Conjure of Sacrifice'. About Papa Justify and Mama Cecile and how they used voodoo to escape slavery. 
Original song: https://www.youtube.com/watch?v=Z5q90827fyY&ab_channel=VariousArtists-Topic

Conjure Of Sacrifice (Widow Breakcore Remix) SKELETON KEY

Dreumath

Powerful waterfall

naviarhaiku474 – winter dawn
winter dawn
all forest paths
are mistakes

An ardent student of history and the English language, Yossarian is an entrepreneur in the electronics industry. Married to an artist, he is blessed with an impetuous ten-year-old son. His other pursuits include poetry, reading nonfiction and basketball. An amateur poet, Yossarian dabbles in various genres of poetry, with a keen interest in all and mastery of none.

Seven days to make music in response to the assigned haiku: to participate visit https://www.naviarrecords.com/about/naviar-haiku

Deadline: 8th February 2023

haiku by Yossarian https://twitter.com/InFacsimile

picture by Adriann Meyer https://unsplash.com/@adriannm

all forest paths are mistakes (naviarhaiku474)

noxpox - Zramando

kiss your mother

YouTube: https://www.youtube.com/channel/UC4E91iv6ciiQBtsyQaprtug

Another Kind Of Love

YouTube

/ 𝗣𝗟𝗘𝗔𝗦𝗘 𝗣𝗟𝗔𝗬 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗 𝗥𝗘𝗔𝗟𝗟𝗬 𝗟𝗢𝗨𝗗, EVEN TO THE POINT OF INCONVENIENCE – EXTREMELY SOFT SOUNDS & ABRUPT VOLUME CHANGES ARE ESSENTIAL FOR THE DYNAMISM OF THE FORM AS A WHOLE | 𝗛𝗘𝗔𝗗𝗣𝗛𝗢𝗡𝗘𝗦 𝗦𝗧𝗥𝗢𝗡𝗚𝗟𝗬 𝗥𝗘𝗖𝗢𝗠𝗠𝗘𝗡𝗗𝗘𝗗 | 𝗕𝗜𝗡𝗔𝗨𝗥𝗔𝗟 𝗔𝗨𝗗𝗜𝗢 /

« minor differences » for virtual, physically-modelled, 10 metres long, microtonal piano(s) & electroacoustic sound layer (2019)

/dedicated to Olga Miriam Michałowska/


***
This piece is a study of displacement. It is an examination and investigation into degrees of "MINORITY" of a chord. It is a form of simultaneously permutated, entangled note chains (organised using a specified quantisation also undergoing its own alterations in time), an excerpt from an “endless” modulation occurring within a MINOR “hemisphere” of a soundspace determined by transition between 24-, 15-, 19- & 21-EDOs as well as my own, non-octave scale.

In « minor differences », almost everything was derived from the ratio of 13/11 – an interval of tridecimal minor third, measuring 289 ¢. The scale incorporated in the majority of the piece had been developed on the basis of the mentioned ratio of 13/11 as well. It has “too small” or "too wide" thirds, no pure fifths at all and octaves being almost pure, yet not exactly so (deviations vary between -21 ¢ and +10 ¢). This carefully calculated exertion provides slight beatings, mildly rough interference patterns and therefore gives an overall impression of an expanded space – as seen in dual intra-cavity of a two layer mirror. At the same time, those “compressed” thirds in the scale are responsible for an “endless collapse” impression of presented chord progression. The listener can realise that the harmonic charges are being resolved and transferred in several directions simultaneously, thus giving those once castellated, quantised patterns a touch of organically geometric refinement. In due course, mentioned quantisations also become intervalised; by this I mean different scale variants being entangled, superimposed and shifted, all in a specific order. As they start to modulate into one another, they contribute to building a meta-scale of presented musical material. Almost like an error that somehow happens to designate an additional dimension. Not far from a flaw; a small, unjustifiable irrationality that surprisingly reveals its carefully calculated and attentively designed essence. A factor that shifts piece's global “displacement paradigm” to another level. 

Thanks to the virtual modelling software capabilities it was possible to design and administer several “impossible” multiphonics (for ex. those with the structure of 13 and 11 partials mainly, without the even ones present at all), as well as map them further on the steps of my minor-third-oriented, non-octave scale. 10-metre-long strings applied in the virtual piano(s) used in the piece reduce the inharmonicity significantly, thus rendering the micro-intervals much clearer to one’s ear and their minor differences much more important.

minor differences

minor differences (2019)

Created with various samples and Push 2.

The download is free :)

Bewitch

I make creepy, happy horror music which is kinda smashy. Most of my music is breakcore/dubstep. Just something I enjoy doing for fun.  

Inspired by: The Exorcist.

Conjure Of Sacrifice (Widow Breakcore Remix) SKELETON KEY

Widow

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